THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Saturday, February 18, 1995 TAG: 9502170013
SECTION: FRONT PAGE: A10 EDITION: FINAL
TYPE: Editorial
LENGTH: Medium: 73 lines
With its $3.7 million annual operating budget, Virginia Opera, now in its 20th season, is, as measured by spending, the biggest performing-arts organization in the Old Dominion and among the 20 biggest U.S. opera companies. Its visibility has been enhanced in no small measure by its premiering of four operas by Thea Musgrave, wife of Virginia Opera General Director Peter Mark.
The world was introduced to Ms. Musgrave's ``Mary, Queen of Scots'' by Scottish Opera but Virginia Opera was the setting for its American debut. Ms. Musgrave's ``A Christmas Carol,'' from the Charles Dickens classic; ``Harriet, A Woman Called Moses,'' based on the life of underground-railroad heroine Harriet Tubman; and ``Simon Bolivar,'' inspired by the triumphs and tragedy of the 19th-century revolutionary honored throughout Latin America - these three works premiered in Virginia.
All four premieres drew national and international attention. ``Mary, Queen of Scots'' was subsequently presented at New York City Opera and in London, San Francisco and Germany; ``A Woman Called Moses'' in chamber versions in Delaware, Wisconsin and Alabama. ``A Christmas Carol'' has been performed in Australia, Germany, London and Philadelphia and widely telecast.
``Simon Bolivar,'' which played to 12,000 people in Norfolk and Richmond, will be performed next month in Regensburg, Germany. It also will be broadcast Feb. 22 by public-radio-station WHRO-FM in Hampton Roads and, at a later date, WCVE-FM in Richmond and next September on National Public Radio's ``World of Opera.'' It looks to be a natural for opera houses in Spain and Latin America.
That ``Simon Bolivar's'' libretto was sung in Spanish rather than English struck some commentators, including this newspaper's, as an unfortunate choice. While some reviewers deemed the opera unsuccessful, others praised it.
Whatever the judgments upon it, ``Simon Bolivar'' commanded serious critical treatment here and abroad. The Times of London described the opera as ``a thrilling piece, conceived and executed on an epic scale.'' Standing ovations at the Harrison Opera House in Norfolk and the Carpenter Center in Richmond suggest that's an assessment with which audiences concur.
Additionally, The Washington Post critic regretted that ``Simon Bolivar'' had not been scheduled for presentation in the national-capital area. Cost barred Virginia Opera's taking ``Simon Bolivar'' to George Mason University, where some of the company's productions are presented each season. For ``Simon Bolivar,'' the company assembled a cast of 75 - these plus more than 50 musicians in the orchestra and sundry technicians, stagehands and other personnel.
Which perhaps makes the point that Virginia Opera is an economic force, as are the arts collectively. The arts' positive impact on Virginia's economy and cultural/educational scene is the core of the argument for continued state funding for arts groups that Virginians for the Arts is pressing upon Governor Allen and the Virginia General Assembly.
Virginia Opera's funding picture is illustrative. Forty-three percent of Virginia Opera income is earned from ticket sales and its scenery shop. The balance comes from corporations, private contributors, foundations - and government. The governmental portion - local, state and federal - totals $247,000 for 1994-95.
Those who contend that the comparatively modest tax-revenue allocation in arts budgets proves that the arts don't need direct government aid may ultimately prevail; after all, tax-deductible donations to the arts constitute an immense indirect governmental boost.
But thriving arts groups serve the common good. Direct subsidies energize private giving - and the defenders of public funding for the arts have excellent reason to make that point repeatedly. Virginia Opera's exemplary performance on stage and off makes it elegantly. by CNB